1. SETTING UP A STILL LIFE PHOTOSHOOT

2. 1. Getting Started
Gather the objects that you will be shooting together. Make sure these RELATE to your theme. Consider using objects that you have already used in your Photograms
Watch the lighting videos…use a space at home, such as a table placed by a window, along with a simple backdrop and using a couple of lamps.
Shoot using your Planning page so you make CLEAR LINKS to your Artist models i.e.: lightsource, colour backdrops, focal point, composition, shallow depth of field...

3. 2) Get the light right – ambient light (available light)
Ambient light is all around us - created by the sun (KEY LIGHT). The sky, ground, water and other structures all reflect (bounce) a portion of the suns rays back into the shadows. We call this ‘bounced’ light FILL LIGHT.
You can ‘bounce’ and direct light for creative effects using REFLECTORS (coloured/silver/gold/whote/back)
You can create your own reflectors using reflective surfaces such as crumpled tinfoil or water.
Right; no reflector fill light, white reflector, gold reflector.

4. Ambient light from a window – tinfoil reflector for fill
Ambient light from a window – side lighting no reflector apart from background
Below – green coloured reflector
Ambient light from a window – tinfoil reflector for fill
Black background.

5. If you want dramatic shadows a non- reflective black surface (such as velvet) can ‘subtract’ fill light to leave one side of the subject in darkness. 
Sometimes the ambient light may be too strong in which case you can bounce it or diffuse (soften) it by using net fabric, tracing paper etc to create a soft-box effect.
Left: studio soft-box used to soften light
Right home-made still life soft-box set up using box and tracing paper

6. L2 APPROACH: Examine your subject carefully to detect the KEY light
L2 APPROACH: Examine your subject carefully to detect the KEY light. Reposition your subject to direct the light where you want it and decide if you need to use reflectors to provide FILL light. This is a good time to experiment and really learn to SEE. 

7. 2. Get the light right – artificial light
Simple lamps work really well, be sure to try multiple positions, not all light has to come from the front of the object, side and backlighting will add interest, shadows and depth to the shot.
You have full control over the shoot, find a room in which you can block out all natural light by using curtains, this way you will have complete control over the light on your subject.
Alternatively, choose a room that is well lit via a window, and use this to your advantage. The natural light from one side will light your subject and you can compliment this with a lamp.

8. 3. Camera Angles
Vary the angles and heights at which you are shooting, try eye level, bird’s eye, low angle...otherwise, you’ll have a whole collection of shots all taken from the same point with little or no variation. Mix it up!
Be careful if you are moving around not to cast any shadows on your subject!
Apply viewpoint conventions –use similar angles, points of view that are used by your Artist Models.

9. 4. Get the backdrop right
• Look at your artist models, what type of background do they use? Plain white, black, textured? A plain painted wall or a large sheet of white or plain coloured paper work well.
Consider what your objects are sitting on. A table top is a good starting point or for a solid black surface, black fabric works well as it absorbs the light.
Remember you can light your backdrops to!

10. 5. Composing the shot
99% of a good shot is composition, think before you shoot.
Composition of your still life is absolutely crucial. Consider the rule of thirds and how can that be applied to your shoot to create a strong composition.
Vary the composition of the subject matter throughout the shoot. Where are you leading the eye within the image? Are you utilising negative space or might it work to try and fill the frame?
Consider how your artist models are using various types of composition, ie; geometric, formal ...

11. Now :
CREATE your Planning page for your first photo shoot (finish for homework).
Over the weekend and OUTSIDE of class time next week shoot photos that attempt to fufill the aims of your planning.
Refer to your Folio Proposal + artist models and ‘Shoot one Planning sheet’ while taking photos so that you demonstrate, in your photos understanding of the conventions of the artists’ work that you indicated in your planning.
First photo shoot due next week.